
造於元代青花工藝之巔,瓷罐造形圓潤豐美,青花細緻亮麗,色調濃淡,層次豐富,器身纏枝牡丹紋與海水紋,端雅相映,銘記元瓷工藝之最,雋永悠長。
2760万成交
600万,650,700万后场女士,800万现场男士,900女士,950万男士,1000万carrie,1100男士,1200万,1300万现场激烈,1400万女士,1500万男士志在必得,1600万女士,1700万男士冲,1800万女士,1900万电话,2000万新买家~ 最后发力。2100万电话,现场基本退却,2100万等待,2200万,2300万电话,两个电话争夺,171号牌。
本品造於十四世紀景德鎮,可謂中國出產的首批青花瓷。當時,忽必烈所領導之元帝國版圖,沿著絲路,橫跨歐亞,前所未見。始創通用紙幣、符牌,方便商人於廣大國境內旅行與發展貿易,地理上東西方的珍貴貨品流通頻繁,包括絲綢、牲口,以及此處要述的重要陶瓷發色原料,鈷藍。
鈷藍,曾一度與黃金一樣珍稀昂貴,長久以來作為伊斯蘭陶瓷的重要發色劑,而傳入中國後,鈷料的重要性更是發揚光大。雖然青花裝飾的陶瓷,可上溯至唐代,使用河南開採的鈷礦,然而元代時,從波斯傳入品質精良的鈷藍,促使青花瓷繪一日千里,享譽中國。本品可證,青花發色艷麗光耀,色澤豐富,淡濃層次、運筆賦形,皆隨心所欲,宛若水墨畫一般。
此時期青花瓷繪,多以大膽筆觸與精緻細節著稱,本品主要紋飾亦彰顯此特色。四方各綴以盛開華美的牡丹,彼此之間以纏枝花葉相連,連綿不絕,好似卷軸繪畫,吸引目光循著紋飾環繞細賞。如此紋飾設計,反映景德鎮瓷匠之無窮創意,並得益於元代朝廷對於工藝管理相對寬鬆,相類紋飾持續沿用至十五世紀中期。
罐頸飾波濤洶湧的海水紋,漩渦、碎浪,水花四濺,動感十足,亦是元代文藝氣氛自由的見證。Steven P. Gaskin 歸類此為「Type Five」海水紋,突顯筆趣,風格自由奔放,屬元代特徵,明代初期已失,取而代之的是更嚴謹且制式化的紋飾;Gaskin,〈The David Vases: Considering Serpentine Waves on Yuan Blue-and-White〉,《Orientations》,卷46,號4,2015年5月,頁81-89,此處作者比較兩件元青花牡丹紋大罐之類同海水紋,其一為大英博物館藏品,口沿有金屬包扣,錄於霍吉淑,《Catalogue of The Late Yuan and Ming Ceramics in The British Museum》,倫敦,2001年,編號1:31;另一例為克利夫蘭藝術博物館,藏品編號:1962.154。

元代青花類例,雖可見於博物館藏品,如本品之牡丹紋搭配海水紋、古錢紋者,極為少見,或為孤品。
比較四例,紋飾相近,肩部纏枝蓮紋較窄,卷葉紋取代古錢紋:一為上海博物館藏品,刊於《中國陶瓷全集》,卷11,上海,2000年,圖版158;另一例藏於山西博物院,《中國文物精華大觀:陶瓷卷》,台北,1993年,編號551;第三例出自日本私人收藏,出版於《世界陶磁全集》,卷13,東京,1981年,圖版123;第四例曾數度售於拍賣會,倫敦蘇富比1988年6月7日,編號211A,香港佳士得1993年10月25日,編號716,紐約蘇富比2006年3月30日,編號61。還有一例,紋飾類同,惟古錢紋飾於頸部,1983年3月15日售於阿姆斯特丹蘇富比,編號2003。

元 青花纏枝牡丹紋罐
An extremely rare blue and white 'peony' jar, guan,
Yuan dynasty
of baluster form, superbly potted with wide swelling shoulders gently tapering to a slightly flared foot, surmounted by a short upright neck with lipped rim, deftly painted in vibrant tones of cobalt blue with broad strokes within pencilled outlines, depicting a broad scroll of six large peony blooms, each differently rendered with a luxuriant array of petals, borne on the same undulating scroll with attendant buds and foliage, below bands of leafy scrolling lotus and crested waves, the foot with bands of coins and lappets, covered overall with a transparent glaze slightly tinged to blue, the broad foot ring and recessed base unglazed, Japanese double wood box
35.5 cm

Literature
Arts of the Silk Road, Fuji Art Museum, Fujinomiya, 1990 (introduction).
《シルクロードの美術》,富士美術館,富士宮市,1990年(序)
Exhibited
So Gen no bijutsu [Art of the Song and Yuan Dynasties], Osaka Municipal Art Museum, Osaka, vol. 4, 1978, cat. no. 1-233.
《中國美術展シリーズ:宋元の美術》,大阪市立美術館,大阪,卷四,1978年,編號1-233

Adorned with graceful floral scrolls and crashing waves, the present jar is a superb example of the marvellous blue-and-white wares produced at the height of the Yuan dynasty. From the varied tone of its fine underglaze blue decoration to its imposing bulbous form, each feature of this piece speaks of the hand of a long-forgotten master – immortalised forever in this remarkable work of art.
Thrown and glazed in Jingdezhen in the 14th century, this jar was among the first wares produced in China in the now ubiquitous blue-and-white palette. In what scholars have dubbed the ‘Mongol Corporation,’ Kublai Khan and his Yuan dynasty built upon and expanded the Silk Road like never before. Introducing paper currency and an early form of passports, the Emperor and his court empowered merchants to travel the length and breadth of the vast empire, from China to Europe, and bring with them priceless goods including silk, livestock and – crucially for our purposes – cobalt.
This blue mineral, once considered as rare and valuable as gold, had long been used as a pigment in Islamic ceramics but rose to even greater heights on its arrival in China. Although some earlier blue-and-white wares from the Tang dynasty had exploited small cobalt deposits in Henan Province, it was not until the Yuan dynasty that the finest cobalt, imported from Persia, became available and gained its famed status in China. Featuring detailed decorations in a luscious variegated blue tone, the present jar exemplifies what became possible with the advent of cobalt: lifelike shading and brushwork reminiscent of ink painting, rendered in a rich enchanting blue.
While many blue-and-white pieces from this early period make reference to the bold strokes and fine detailing of ink paintings, the central design of the present lot makes the connection particularly apparent. Depicting a single peony bloom from four different angles – each view linked to the next by a scrolling branch – the design functions much like a narrative on a painted handscroll, to be ‘read’ by turning the vessel. This ingenious design, largely abandoned by the mid-fifteenth century, speaks to the immense creativity of the early Jingdezhen potters and the relative artistic freedom afforded to them by the Yuan court.
The lively band of serpentine waves at the neck of the jar, swirling and breaking with dark black bubbles, is also symptomatic of the creative liberty of the Yuan. Termed ‘Type Five’ waves by Steven P. Gaskin, this motif is yet another example of the free-spirited and playful nature of Yuan dynasty brushwork that soon faded with the arrival of more formal Ming designs; see Gaskin, ‘The David Vases: Considering Serpentine Waves on Yuan Blue-and-White’, Orientations, vol. 46, no. 4, May 2015, pp. 81-89, where he cites two larger jars with similar bubbling waves (and peony designs): one in the British Museum with a metal rim mount, illustrated in Jessica Harrison-Hall, Catalogue of The Late Yuan and Ming Ceramics in The British Museum, London, 2001, no. 1:31; and the other in the Cleveland Museum of Art (acc. no. 1962.154).
Although blue-and-white jars of related design are well attested in museum collections, the present combination of peonies and waves with a diaper band is extremely rare, if not unique. Compare four widely published jars of very similar design but with a slightly narrower shoulder decoration and a scroll border in place of the present diaper: one preserved in the Shanghai Museum, illustrated in Zhongguo taoci quanji [The complete works of Chinese ceramics], vol. 11, Shanghai, 2000, pl. 158; the second in the Shanxi Provincial Museum, in Zhongguo wenwu jinghua daquan: Taoci juan [Complete masterpieces of Chinese cultural relics: Ceramics volume], Taipei, 1993, no. 551; the third, from a Japanese private collection, in Sekai tōji zenshū / Ceramic Art of the World, vol. 13, Tokyo, 1981, pl. 123; and the fourth sold in our London rooms, 7th June 1988, lot 211A; again at Christie’s Hong Kong, 25th October 1993, lot 716, and again in our New York rooms, 30th March 2006, lot 61. Another jar of very closely related design but with the diaper band instead at the base of the neck was sold in our Amsterdam rooms, 15th March 1983, lot 2003.

FAQ:
Sakamoto Gorō and a Yuan Dynasty Blue and White 'Peony' Jar
What makes the Yuan Dynasty blue and white ‘peony’ jar so special?
This jar is a remarkable example of blue and white porcelain produced during the Yuan dynasty. It exemplifies the artistic excellence achieved at Jingdezhen, the renowned porcelain production center. The jar's features, from its bulbous form to the vibrant cobalt blue decoration, showcase the craftsmanship of a skilled artisan. The jar is particularly noteworthy for its rare combination of peony and wave designs with a diaper band. This unique design element, coupled with its excellent condition, makes it an exceptionally rare and valuable piece of Yuan dynasty porcelain.
How did the Yuan Dynasty influence the development of blue and white porcelain?
The Yuan dynasty, under Kublai Khan, significantly expanded the Silk Road, facilitating trade and cultural exchange between China and the West. This led to the importation of high-quality cobalt from Persia, a key ingredient in the production of blue and white porcelain. The Yuan court's relatively relaxed artistic control allowed for creative freedom, leading to the emergence of bold and expressive designs, as seen in the jar's lively serpentine waves and free-flowing peony scroll.
What is the significance of the jar's decorative motifs?
The jar's design features a captivating narrative of scrolling peony blooms, each rendered from a different angle and interconnected by delicate branches, reminiscent of a painted handscroll. This creative approach reflects the ingenuity of Jingdezhen potters and the artistic freedom they enjoyed during the Yuan era. The lively band of serpentine waves encircling the neck further emphasizes the dynamic and playful nature of Yuan dynasty brushwork.
What is the significance of the 'Type Five' waves depicted on the jar?
Steven P. Gaskin, a scholar of Chinese ceramics, categorized the jar's wave motif as "Type Five" waves. These waves are characterized by their swirling, breaking forms with dark black bubbles, exemplifying the free-spirited and expressive nature of Yuan dynasty brushwork. This style differed from the more formal and standardized designs that emerged during the Ming dynasty.
Who is Sakamoto Gorō and why is he important in the field of Asian art?
Sakamoto Gorō (1923–2016) was a legendary collector, dealer, and connoisseur of Asian art, particularly known for his expertise in Chinese antiquities. He played a pivotal role in shaping the market for Chinese art through his discerning eye, relentless pursuit of rare pieces, and ability to establish lasting relationships within the art world.
What was Sakamoto Gorō's background?
Born into challenging circumstances in Yokohama, Sakamoto demonstrated resilience and determination from a young age. He began his career as an apprentice in various trades before venturing into the world of antiques. He lacked formal training in art but compensated with his insatiable curiosity and unwavering dedication to learning.
How did Sakamoto Gorō become successful in the art world?
Sakamoto achieved success through a combination of hard work, a keen eye for quality, and a willingness to take risks. He traveled extensively, constantly seeking out hidden treasures and immersing himself in the study of Asian art. He also developed strong relationships with other dealers and collectors, earning their respect and trust.
What is an example of Sakamoto Gorō's impact on the market for Chinese art?
In 1972, Sakamoto made headlines by purchasing an underglaze-blue and copper-red Yuan dynasty wine jar at a record-breaking price. This bold move demonstrated his unwavering belief in the value of exceptional Chinese porcelain and significantly elevated the appreciation for quality in the market. Prices for Chinese ceramics rose dramatically following his purchase, reflecting the influence he wielded in the field.


Few individuals have shaped the market for Chinese antiquities as forcefully as the legendary collector, dealer and connoisseur Sakamoto Gorō (1923-2016). With a career that spanned almost 70 years, his journey to become one of the world’s greatest dealers of Asian art is as colourful and illustrative as the pieces he so admired.
坂本五郎(1923-2016)律己以嚴,歷近七十寒暑,致思古藝,求達「目利」之境,以己為鏡,孜孜不息。他懷着堅志大勇,勤學勵讀,縱然辛酸多於榮耀,歷年來經手無數精品,對中國古董藝壇影響深遠。
Timeline of Events:
Tang Dynasty:
Blue-and-white wares are produced in China using cobalt deposits from Henan Province. These are the earliest examples of Chinese blue-and-white ceramics.
14th Century (Yuan Dynasty):
Kublai Khan expands the Silk Road, facilitating trade and cultural exchange between East and West.
High-quality cobalt is imported from Persia to China, leading to a flourishing of blue-and-white porcelain production.
The featured 'peony' jar is produced in Jingdezhen, exemplifying the artistry and innovative designs of Yuan dynasty porcelain.
Characteristic "Type Five" wave patterns, known for their free-flowing style, are prominent in Yuan dynasty ceramics.
Post-Yuan Dynasty:
Mid-15th Century: The free-flowing artistic style of Yuan dynasty porcelain designs, including the peony scroll and "Type Five" waves, is largely abandoned.
Ming Dynasty: More formalized and standardized decorative motifs replace the free-spirited designs of the Yuan dynasty.
20th Century:
1923: Sakamoto Gorō is born in Yokohama, Japan.
1947: At age 24, Sakamoto opens his first antique shop in Tokyo.
1972: Sakamoto sets a world record for the highest price paid for Chinese porcelain by acquiring a Yuan dynasty underglaze-blue and copper-red wine jar. This purchase significantly elevates the appreciation and market value of high-quality Chinese ceramics.
2016: Sakamoto Gorō passes away.

Cast of Characters:
Kublai Khan (1215-1294): The fifth Khagan of the Mongol Empire and founder of the Yuan dynasty in China. He significantly expanded the Silk Road, facilitating trade and cultural exchange between East and West.
Sakamoto Gorō (1923–2016): A legendary Japanese collector, dealer, and connoisseur of Chinese antiquities. He played a pivotal role in shaping the international market for Chinese art, particularly porcelain. His discerning eye, relentless pursuit of rare pieces, and record-breaking purchase of a Yuan dynasty wine jar in 1972 significantly increased the appreciation and value of high-quality Chinese ceramics.
Steven P. Gaskin: An expert on Chinese ceramics who categorized the distinctive wave patterns found on Yuan dynasty porcelain. He termed the free-flowing style characteristic of this period as "Type Five" waves.
Jessica Harrison-Hall: Curator of the Asian Department at the British Museum and author of the "Catalogue of The Late Yuan and Ming Ceramics in The British Museum." Her work provides important documentation of key pieces in the museum's collection, including a Yuan dynasty blue-and-white jar with "Type Five" wave patterns and peony designs.
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